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Review by Sean Boelman
Photo Courtesy of Samuel Goldwyn Films. (c) Bert Marcus Film.
Co-written and directed by Annie Silverstein, Bull is a new drama dealing with the tough but important topic of addiction. However, despite an intriguing premise, the film gets too caught up in its conventional coming-of-age subplot to be as thoughtful as Silverstein obviously hopes it to be.
The movie follows a troubled teen girl as she befriends and learns from her neighbor, an aging bullfighter with an interesting past and issues of his own. The subgenre of films about people trying to find redemption by taming animals has experienced a sort of resurgence in recent years, but by trying to spin it into a coming-of-age movie, Silverstein loses the power of that central metaphor. The script is at its strongest when it is exploring the human impact of the opioid crisis, but this makes up a disappointingly small part of the film’s conflict. There are some really powerful scenes that come in the second act, but these narrative threads are never resolved in a way that is compelling. Silverstein also chooses to focus on the teenage girl as the protagonist when her neighbor is undeniably the more compelling character. Unfortunately, even though her struggles are sympathetic, her arc has been committed to the screen many times before. On the other hand, Silverstein’s approach to the bullfighter character is much more nuanced and effective, but not fully utilized. 
Photo Courtesy of Samuel Goldwyn Films. (c) Bert Marcus Film.
Additionally, the pacing of the movie as a whole feels extremely uneven. The first act is very slow and it takes a while to get invested in the world of the film. Then, as the conflict begins to pick up, the movie continues to gain steam until it eventually starts to feel rushed in the final third. With a story like this, it’s much better for the script to be more of a consistent slow burn, and that is missing here.
Rob Morgan gives a phenomenal performance and is one of the main reasons why the movie is able to stay afloat. Since the film feels contrived as a whole, he is the main source of earnesty. In the context of a better movie, he would likely be up for consideration for his subtly soulful portrayal of the cowboy past his prime, but alas, Morgan will have to wait for greener pastures for that. Silverstein’s eye is also quite strong. It’s obvious that she started as a documentary director, as the film as a whole has a very gritty and realistic feel to it. It would almost be immersive if the script weren’t so weighed down by convention and formula that it fails to be anything other than a passable melodrama. There are definitely some good things going on in Annie Silverstein’s Bull, but they sadly don’t all come together, resulting in a watch that isn’t entirely satisfying. The talent on display here is admirable, although that doesn’t necessarily make it worth your time. Bull hits VOD on May 1. Rating: 2.5/5
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Review by Sean Boelman
It’s a wonder that Tammy’s Always Dying is getting to see the light of day right now because of the controversy in which its star was involved, though it doesn’t seem like there ever would have been an opportune time to release it. Starting out as an interesting examination of mental health, but turning into a disappointingly messy cancer drama, the film is all over the place, and not in a good way.
The movie follows a woman who, fed up with her selfish mother, decides to take advantage of her sob story for personal gain, only for their lives to be shaken up by an unexpected cancer diagnosis. While this seems like a decent set-up for a black comedy, that comedy is almost non-existent, writer Joanne Sarazen having taken her premise with too much of a straight face for the film to be remotely entertaining. Perhaps the most problematic thing about the movie is its treatment of suicide. The opening moments are very intriguing, as they show the potential of offering a balanced and nuanced discussion on the topic, only for the film to become bitter and mean-spirited. Because of this, it’s hard to gain anything of worth from the story because it simply feels aggressive. Undeniably the most compelling part of the movie is the mother-daughter relationship between the characters, but Sarazen doesn’t explore that to its full depth. For much of the film, the characters are separated talking about each other. It’s almost like psychoanalyzing the two halves of the relationship without seeing it in action for a sufficient period of time, which is frustrating. 
The film’s solo character arcs are also very underwhelming. The storyline involving the protagonist trying to capitalize on her story is pretty much dead on arrival. It’s obvious that this is meant to be her method of coping and coming to understand her emotions in a complex situation, but other than that, it adds very little to the movie. A father-figure character also feels sorely underused.
Felicity Huffman gives a solid performance in her supporting role, although it often feels like the film’s focus is turned away from her. She is given a few scenes in which she is able to shine, but this is otherwise Anastasia Phillips’s show. Phillips is good enough, but more often than not, she struggles to bring life into uninspired material. Director Amy Jo Johnson tries her best to give a stylish edge to the visuals, and while she is obviously very talented, she can’t save the film from feeling dull. A lot of the most interesting artistic choices on display are tied to narrative elements that aren’t fleshed out, and as a result, their impact is lessened. Tammy’s Always Dying sounds very interesting on paper, but in execution, it’s too messy and uneven to be particularly interesting. A few strong moments aside, this is mostly a slog that was in desperate need of a rewrite (or two). Tammy’s Always Dying hits VOD on May 1. Rating: 2/5
Review by Sean Boelman
Azie Tesfai as “Sara” in Brett and Drew Pierce’s THE WRETCHED. Courtesy of IFC Midnight. An IFC Midnight Release.
Written and directed by Brett and Drew T. Pierce, The Wretched is the type of old-school horror flick that isn’t seen enough today. Offering both a compelling coming-of-age arc and some legitimate thrills, this is the type of entertaining genre film that fans are clamoring for in this time of theater shutdowns.
The movie follows a young man whose life begins to fall apart when he suspects and accuses his next door neighbor of being a witch involved with the disappearances of several local children. For the most part, the film hits the beats of the “boy who cried wolf” arc without much deviation, but it is what the filmmakers do with those tropes that makes it worth watching. The Pierces blend this admittedly by-the-book setup with a charming summer love story to provide a thriller that is surprisingly enjoyable to watch, even if the direction in which the narrative is heading is clear. A big part of what makes the movie work so well is that the protagonist is very well-written, and although the film’s subplot about divorce isn’t fully fleshed out, enough is there for it to have an emotional impact. Additionally, the actors all do a really solid job. John-Paul Howard plays the lead and he is charming enough to allow the more lighthearted elements of the story to work. And while the romantic subplot of the movie often feels more like an afterthought, the chemistry that Howard has with Piper Curda is admirable. 
John-Paul Howard as “Ben” in Brett and Drew Pierce’s THE WRETCHED. Courtesy of IFC Midnight. An IFC Midnight Release.
Since the film’s plot is a tad on the predictable side, the stakes aren’t as high as one would like. Still, because viewers will be legitimately invested in the emotional arc of the movie, it’s easy to buy into the pacing. Clocking in at just over an hour and a half long, this film is just the right length for a B-horror movie.
Of course, most audiences will come to this movie hoping to be scared, and while it is far from terrifying, it’s definitely creepy, and there are some really intense moments. Apart from a few instances, the Pierces don’t rely on jump scares, instead building atmosphere in a much more earned and effective way. However, it is on a technical level that the film impresses the most. Especially given the relatively low budget, the effects are pretty great. The movie looks significantly better than the average horror flick that is made for millions more than this, and it is because the filmmakers really knew how to harness the roots of the genre. The Wretched is a fun, old-school horror movie that will provide plenty of amusement for an hour and a half. It feels like something that would be perfect to watch at a drive-in theater, and that’s great, because at a few locations around the country, that’s actually an option. The Wretched hits VOD on May 1. Rating: 4/5
Review by Sean Boelman
Directed by Cristina Ibarra and Alex Rivera, The Infiltrators, billed as a “docu-thriller”, deals with the pertinent issue of the treatment of immigrants in the U.S. justice system. And despite a very compelling and cinematic story, one can’t help but wonder if the film would have been better off with a fully narrative format rather than the hybrid with which the filmmakers went.
The movie follows a group of DREAMers who set out to infiltrate a for-profit detention center in the hopes of exposing their unethical practices and advocating for the rights of immigrants. This is definitely a very compelling story, as it plays out almost like a real-life heist, but unfortunately, this feels just a tad manipulative when considering the fact that this is affecting real people. It’s a shame that the film comes off as inauthentic at times, because the cause which it is documenting is truly noble. These people are unsung heroes, and their story needs to be heard, but not in this way. More often than not, it feels like the movie is pandering to audiences and sanitizing the information, rather than responding to a legitimate crisis. That isn’t to say that the film has no substance — some of the stories that the movie explores are truly interesting. The film features a few of the detainees that the subjects helped, and their experiences should have been the real focus of the movie. While this thriller structure is admittedly very entertaining, it doesn’t have the full emotional impact. 
On the other hand, the film does a very good job of developing the main subjects of the movie, the eponymous activists, and that is because this is where a majority of the documentary footage comes in. The real people represent themselves in this portion of the film, and their perspective on the events is an undeniable relief from the nearly sensationalized dramatized sequences.
The reenactments are certainly shot very well, but the movie’s reliance on them is questionable. On one hand, it is completely understandable why the filmmakers had to fall back on this method, as cooperation from sources for an exposé like this is admittedly tricky. However, had more interviews (even anonymous ones) been featured, there would have been more authenticity. Within the reenactments, the quality of the acting is about what one would expect for the method of filming. The movie’s highly-scripted portions are meant to create an artificial reality, but instead, they force mostly wooden performances out of the film’s cast. The sole exception is Maynor Alvarado, the lead of these reenactments, who surprisingly manages to breathe life into his role. The Infiltrators has an unarguably exceptional true story at its core, but the filmmakers don’t tell it in the right way. Since the film has been optioned to be adapted into a fully-scripted series, maybe that iteration will have more of an impact. The Infiltrators screens online in partnership with indie theaters beginning May 1. A list of participating locations can be found here. Rating: 3/5
Review by Sean Boelman
Jacinta in the Maine Correctional Center yard in Jacinta. Directed by Jessica Earnshaw. Photo credit: Jessica Earnshaw. Image courtesy of Endeavor Pictures
The feature debut of photographer Jessica Earnshaw, Jacinta is a new documentary exploring the U.S. prison system. Winner of the Best New Documentary Director award via virtual judging at the 2020 Tribeca Film Festival, this film definitely shows Earnshaw is a talent to watch, but is weighed down by the potential ethical implications associated with its existence.
The movie follows a single mother and drug addict as she is released from prison and struggles to get back up on her feet, recover, and make a life for herself and her daughter. This is a real-life redemption arc, and those stories are among the most compelling that can be committed to film because people like to see the good that can come out of humanity. But in this particular case, the movie is hindered by the fact that the filmmaker’s observation of the subject is ethically challenging. Earnshaw takes a verité approach to the story, and that involves a policy of non-interference. However, at many points within the story, interference very well could have prevented dangerous things that should not have happened. Furthermore, many argue that the mere act of observation can change a way in which a person behaves. Having one’s life and recovery process scrutinized by the camera, and knowing that it may make its way to audiences worldwide undeniably puts a lot of pressure on a person. It is entirely possible that this added pressure had a tangible effect on the progression of the story. 
(l. to r.) Jacinta and her mother Rosemary in the Maine Correctional Center yard in Jacinta. Directed by Jessica Earnshaw. Photo credit: Jessica Earnshaw. Image courtesy of Endeavor Pictures.
Jacinta is an undeniably compelling subject. Although she does a lot of things that aren’t particularly likable, it’s hard not to feel bad for her. She’s a person who has made mistakes, but she knows the error of her ways and wants to improve herself. Her story, however frustrating it may be at times, is very sympathetic.
One of the more interesting things about the film is that it addresses the very important topic of recidivism. The threat of going back to jail is looming over Jacinta’s story, and this serves as one of her key motivators. It would have been nice had the movie explored the consequences of this issue in more depth, but given the hands-off approach, it can serve as a solid conversation-starter nevertheless. On a technical level, the film certainly benefits from Earnshaw’s origins as a photographer. In addition to being director, she is the cinematographer on her movie, and it looks absolutely gorgeous. Even though the film is dealing with some of the lower aspects of society, it manages to feel hopeful thanks to Earnshaw’s excellent visuals. Jacinta tells an interesting and urgent story, but its verité approach may not have been the most ethical, and that can be significantly distracting. Nevertheless, Earnshaw is certainly a very talented filmmaker and it will be exciting to see what she does next. Jacinta was set to debut at the cancelled 2020 Tribeca Film Festival. It is currently seeking distribution. Rating: 2.5/5 |